欲望号街车原文
the exterior of a two-story corner building on a street in new orleans
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A STREETCAR NAMED DESIRE
And so it was I entered the broken world To trace
the visionary company of love, its voice An instant in the wind [I know not whither hurled] But not for long to hold each desperate choice. HART CRANE The Broken Tower THE CHARACTERS The first London production of this play was at the Aldwych Theatre on Wednesday,.2 October.949, with the following cast: Blanche DuBois Vivien Leigh Stella Kowalski Rerw Asfwrson Stanley Kowalski Bonar Colleam Harold Mitchell [Mitch] Bernard Braden Eunice Hubbel Eileen Dale Steve Hubbel Lyn Euans Pablo Gonzales Theodore Bikel Negro woman Brwe Howard A strange man [doctor] Sidney Monckton A strange woman [nurse] Mona Lilian A young collector John Farrest A Mexican woman Eileen Way Directed by Laurence Olivier Setting and lighting by Jo meilziner Costumes by Beatrice Dawson
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SCENE ONE
The exterior of a two-storey corner building on a street in New Orleans which is named Elysian Fields and runs between the L & N tracks and the river. The section is poor but unlike corresponding sections in other American cities, it has a raffish charm. The houses are mostly white frame, weathered grey, with rickety outside stairs and galleries and quaintly ornamented gables. This building contains two flats, upstairs and down. Faded white stairs ascend to the entrances of both.
It is first dark of an evening early in May. The sky that shows around the dim white building is a peculiarly tender blue, almost turquoise, which invests the scene with a kind of lyricism and gracefully attenuates the atmosphere of decay. You can almost feel the warm breath of the brown river beyond the river warehouses with their faint redolences of bananas and coffee. A corresponding air is evoked by the music of Negro entertainers at a bar-room around the corner. In this part of New Orleans you are practically always just around the corner, or a few doors down the street, from a tinny piano being played with the infatuated fluency of brown fingers. This blue piano' expresses the spirit of the life which goes on here.
[Two women, one white and one coloured, are taking the air on the steps of the building. The white woman Eunice, who occupies the upstairs flat; the coloured woman a neighbour, for New Orleans is a cosmopolitan city where there is a relatively warm and easy intermingling of races in the old part of town.
Above the music of the 'blue piano', the voices of people on the street can be heard overlapping.] Negro woman [to Eunice]: ... she says St Barnabas would send out his dog to lick her and when he did she'd feel an Icy cold wave all up an' down her. Well, that night when –
A Man [to a sailor]: You keep right on going and you'll find it. You'll hear them tapping on the shutters.
Sailor [to negro woman and Eunice]: Where's the Four Deuces?
Vendor: Red hot! Red hots
Negro woman: Don't waste your money in that clip joint
Sailor: I've got a date there.
Vendor: Re-e-ed h-o-o-t!
Negro woman: Don't let them sell you a Blue Moon cock- tail or you won't go out on your own feet
[Two men come round the comer, Stanley Kowalski and Mitch. They are about twenty-eight or thirty years old, roughly dressed in blue denim work clothes. Stanley carries his bowling jacket and a red-stained package from a butcher's.] Stanley [to Mitch]: Well, what did he say? Mitch; He said he'd give us even money.
Stanley: Naw! We gotta have odds!
[They stop at the foot of the steps.}
Stanley [bellowing}: Hey, there! Stella, Baby
[Stella comes out on the first-floor landing, a gentle young woman, about twenty-five, and of a background obviously quite different from her husband's.]
Stella [mildly]: Don't holler at me like that. Hi, Mitch.
Stanley: Catch
Stella: What?
Stanley: Meat!
[He heaves the package at her. She cries out in protest but manages to catch it: then she laughs breathlessly. Her husband and his companion hose already started back around the comer.]
Stella [calling after him}: Stanley! Where are you going?
Stanley: Bowling!
Stella: Can I come watch?
Stanley: Come on. [He goes out.]
Stella: Be over soon. [To the white woman.] Hello, Eunice. How are you?
Eunice: I'm all right. Tell Steve to get him a poor boy's sandwich 'cause nothing's left here. [They all laugh; the coloured woman does not stop. Stella goes out.]
Coloured woman: What was that package he th'ew at 'er? [She rises from steps, laughing louder.]
Eunice; You hush, now!
Negro woman: Catch what
[She continues to laugh. Blanche comes around the corner, carrying a valise. She looks at a slip of paper, then at the building, then again at the slip and again at the building. Her expression is one of shocked disbelief. Her appearance is incongruous to this setting. She is daintily dressed in a white suit with a fluffy bodice, necklace and ear-rings of pearl, white gloves and hat, looking as if she were arriving at a summer tea or cocktail party in the garden district. She is about five years older than Stella. Her delicate beauty must avoid a strong light. There is something about her uncertain manner, as well as her white clothes, that suggests a moth.]
Eunice [finally]: What's the matter, honey? Are you lost?
Blanche [with faintly hysterical humour]: They told me to take a streetcar named Desire, and then transfer to one called Cemeteries and ride six blocks and get off at - Elysian Fields!
Eunice: That's where you are now.
Blanche: At Elysian Fields?
Eunice: This here is Elysian Fields.
Blanche: They mustn't have - understood - what number I wanted ...
Eunice: What number you looking for?
[Blanche wearily refers to the slip of paper.]
Blanche: Six thirty-two.
Eunice: You don't have to look no further.
Blanche [uncomprehendingly]: I'm looking for my sister, Stella DuBois. I mean - Mrs Stanley Kowalski.
Eunice: That's the party. - You just did miss her, though.
Blanche: This - can this be - her home?
Eunice: She's got the downstairs here and I got the up.
Blanche: Oh. She's - out?
Eunice: You noticed that bowling alley around the corner?
Blanche: I'm - not sure I did.
Eunice: Well) that's where she's at, watching her husband bowl. [There is a pause.] You want to leave your suitcase here an' go find her?
Blanche: no.
Negro woman: I'll go tell her you come.
Blanche: Thanks.
Negro woman: You welcome. [She goes out.]
Eunice: She wasn't expecting you?
Blanche: No. No, not tonight.
Eunice: Well, why don't you just go in and make yourself at home till they get back.
Blanche: How could I - do that?
Eunice: We own this place so I can let you in. [She gets up and opens the downstairs door. A light goes on behind the blind, turning it light blue. Blanche slowly follows her into the downstairs fiat. The surrounding areas dim out as the interior is lighted. Two rooms can be seen, not too clearly defined. The one first entered is primarily a kitchen but contains a folding bed to be used by Blanche. The room beyond this is a bedroom. Off this room is a narrow door to a bathroom.]
Eunice [defensively, noticing Blanche's look]: It's sort of messed up right now but when it's clean it's real sweet.
Blanche: Is it?
Eunice: Uh-huh, I think so. So you're Stella's sister?
Blanche: Yes. [Wanting to get rid of' her] Thanks for letting me in.
Eunice: pot nada, as the Mexicans say, por nada Stella spoke of you.
Blanche: Yes?
Eunice: I think she said you taught school.
Blanche: yes.
Eunice: And you're from Mississippi, huh?
Blanche: yes.
Eunice: She showed me a picture of your home-place, the plantation.
Blanche: Belle Reve?
Eunice: A great big place with white columns.
Blanche: Yes . . .
Eunice: A place like that must be awful hard to keep up.
Blanche: If you will excuse me, I'm just about to drop.
Eunice: Sure, honey. Why don't you set down?
Blanche: What I meant was I'd like to be left alone.
Eunice [offended}: Aw. I'll make myself scarce, in that case.
Blanche: I didn't mean to be rude, but
Eunice: I'll drop by the bowling alley an' hustle her up. [She goes out of the door.]
[Blanche sits in a chair very stiffly with her shoulders slightly hunched and her legs pressed close together and her hands tightly clutching her purse as if she were quite cold. After a while, the blind look goes out of her eyes and she begins to look slowly around. A cat screeches. She catches her breath with a startled gesture. Suddenly she notices something in a half- opened closet. She springs up and crosses to it, and removes a whisky bottle. She pours a half tumbler of whisky and tosses it down. She carefully replaces the bottle and washes out the tumbler at the sink. Then she resumes her seat in front of the table.]
Blanche [faintly to herself]: I've got to keep hold of myself!
[Stella comes quickly around the corner of the building and and runs to the door of the downstairs fiat.]
Stella [calling out joyfully]: Blanche!
[For a moment, they stare at each other. Then Blanche springs up and runs to her with a wild cry.] Blanche: Stella, oh, Stella, Stella! Stella for Star!
[She begins to speak with feverish vivacity as if she feared for either of them to stop and think. They catch each other in a spasmodic embrace.]
Blanche: Now, then, let me look at you. But don't you look at me, Stella, no, no, no, not till later, not till I've bathed and rested! And turn that over-light off! Turn that off! I won't be looked at in this merciless glare [Stella laughs and complies.] Come back here now I Oh, my baby! Stella! Stella for Star! [She embraces her again.] I thought you would never come back to this horrible place! What am I saying! I didn't mean to say that. I meant to be nice about it and say - Oh, what a convenient location and such - Ha-a-ha! Precious lamb! You haven't said a word to me. Stella: You haven't given me a Chance to, honey! [She laughs but her glance at Blanche is a little anxious.]
Blanche: Well, now you talk. Open your pretty mouth and talk while I look around for some liquor!
I know you must have some liquor on the place! Where it could be, I wonder. Oh, I spy, I spy! [She rushes to the closet and removes the bottle; she is shaking all over and panting for breath as she tries to laugh. The bottle nearly slips from her grasp.]
Stella [noticing]: Blanche, you sit down and let me pour the drinks. I don't know what we've got to mix with. May- be a coke'? in the icebox. Look'n sec, honey, while I'm
Blanche: No coke, honey, not with my nerves tonight! Where - where - where is -?
Stella: Stanley? Bowling! He loves it. They're having a - found some soda! tournament...
Blanche: Just water, baby, to chase it! Now don't get worried, your sister hasn't turned into a drunkard, she's just all shaken up and hot, tired, and dirty! You sit down, now, and explain this
place to me. what are you doing in a place like this?
Stella: Now, Blanche
Blanche: Oh, I'm not going to be hypocritical, I'm going to be honestly critical about it! Never, never, never in my worst dreams could I picture - Only Poe! Only Mr Edgar Allan Foe! - could do it justice! Out there I suppose is the ghoul-haunted woodland of Weir. [She laughs.]
Stella: No, honey, those are the L & N tracks.
Blanche: No, now seriously, putting joking aside. Why didn't you tell me, why didn't you write me, honey, why I didn't you let me know?
Stella [carefully, pouring herself a drink]: Tell you what, Blanche?
Blanche: Why, that you had to live in these conditions!
Stella: Aren't you being a little intense about it? It's not that bad at all! New Orleans isn't like other cities.
Blanche: This has got nothing to do with New Orleans. You might as well say - forgive me, blessed baby! [She suddenly stops short.] The subject is closed!
Stella [a little drily]: Thanks.
[During the pause, Blanche stares at her. She smiles at Blanche.]
Blanche [looking down at her glass, which shakes in her hand]: You're all I've got in the world, and you're not glad to see me!
Stella [sincerely]: Why, Blanche, you know that's not true.
Blanche: No? - I'd forgotten how quiet you were.
Stella: You never did give me a Chance to say much, Blanche. So I just got in the habit of being quiet around you.
Blanche [vaguely}: A good habit to get into ... [then abruptly] You haven't asked me how I happened to get away from the school before the spring term ended.
Stella; Well, I thought you'd volunteer that information - if you wanted to tell me.
Blanche: You thought I'd been fired?
Stella: No, I - thought you might have - resigned....
Blanche: I was so exhausted by all I'd been through my - nerves broke. [Nervously tamping cigarette.] I was on the verge of- lunacy, almost! So Mr Graves - Mr Graves is the high school superintendent - he suggested I take a leave of absence. I couldn't put all of those details into the wire. ... [She drinks quickly.} Oh, this buzzes right through me and feels so good!
Stella: Won't you have another?
Blanche: No, one's my limit.
Stella: Sure?
Blanche: You haven't said a word about my appearance.
Stella: You look just fine.
Blanche: God love you for a liar! Daylight never exposed so total a ruin. But you - you've put on some weight, yes, you're just as plump as a little partridge. And it's so becoming to you.
Stella: Now, Blanche
Blanche: Yes, it is, it is or I wouldn't say it . You just have to watch around the hips a little. Stand up.
Stella: Not now.
Blanche: You hear me? I said stand up ! [Stella complies reluctantly.] You messy child, you, you've spilt something on that pretty white lace collar ! About your hair – you ought to have it cut in a feather bob with your dainty features. Stella, you have a maid, don't you?
Stella: No. With only two rooms it's
Blanche: What? Two rooms, did you say?
Stella: This one and — [She is embarrassed.}
Blanche: The other one? [She laughs sharply. There is an embarrassed silence.] How quiet you are, you're so peaceful. Look how you sit there with your little hands folded like a cherub in choir! Stella [uncomfortably}: I never had anything like your energy, Blanche.
Blanche: Well, I never had your beautiful self-control. I am going to take just one little tiny nip more, sort of to put the stopper on, so to speak.... Then put the bottle away so I won't be tempted. [She rises.} I want you to look at my figure! [She turns around.] You know I haven't put on one ounce in ten years, Stella? I weigh what I weighed the summer you left Belle Reve. The summer Dad died and you left us...
Stella [a little wearily]: It's just incredible, Blanche, how well you're looking.
Blanche: You see I still have that awful vanity about my looks even now that my looks are slipping . [She laughs nervously and glances at Stella./ot reassurance.]
Stella [dutifully]: They haven't slipped one particle.
Blanche: After all, I've been through? You think I believe that story ? Blessed child! [She touches her forehead shakily.] Stella, there's only two rooms?
Stella: And a bathroom.
Blanche: Oh, you do have a bathroom. First door to the right at the top of the stairs. [They both laugh uncomfortably.] But, Stella, I don't see where you're going to put me!
Stella: We're going to put you in here.
Blanche: What kind of bed's this - one of those collapsible things? [She sits on it.]
Stella: Does it feel all right?
Blanche [dubiously]: Wonderful, honey. I don't like a bed that gives much. But there's no door between the two rooms, and Stanley - will it be decent?
Stella: Stanley is Polish, you know.
Blanche: Oh, yes. They're something like Irish, aren't they?
Stella: Well
Blanche: Only not so - highbrow? [They both laugh again in the same way.} I brought some nice clothes to meet all your lovely friends in.
Stella: I'm afraid you won't think they are lovely.
Blanche: What are they like?
Stella: They're Stanley's friends.
Blanche: Polacks?
Stella: They're a mixed lot, Blanche.
Blanche: Heterogeneous types?
Stella: Oh, yes. Yes, types are right!
Blanche: Well - anyhow - I brought nice clothes and I'll wear them. I guess you're hoping I'll say I'll put up at a hotel, but I'm not going to put up at a hotel. I want to be near you, got to be with somebody, I can't be alone! Because - as you must have noticed - I'm not very well. ... [Her voice drops and her look is frightened.]
Stella: You seem a little bit nervous or overwrought or something.
Blanche: Will Stanley like me, or will I be just a visiting in-law, Stella? I couldn't stand that. Stella: You'll get along fine together, if you'll just try not to - well - compare him with men that we went out with at home.
Blanche: Is he so - different?
Stella: Yes. A different species.
Blanche: In what way; what's he like?
Stella: Oh, you can't describe someone you're in love with! Here's a picture of him! [She hands a photograph to Blanche.]
Blanche: An officer?
Stella: A Master Sergeant in the Engineers' Corps. Those are decorations
Blanche: He had those on when you met him.
Stella: I assure you I wasn't just blinded by all the brass.
Blanche: That's not what I
Stella: But of course, there were things to adjust myself to later on.
Blanche: Such as his civilian background I [Stella laughs uncertainly.] How did he take it when you
said I was coming?
Stella: Oh, Stanley doesn't know yet.
Blanche [frightened]: You - haven't told him? Stella: He's on the road a good deal.
Blanche: Oh. Travels?
Stella: Yes.
Blanche: Good. I mean - isn't it?
Stella [half to herself]: I can hardly stand it when he is away for a night. ...
Blanche: Why, Stella? Stella: When he's away for a week I nearly go wild
Blanche: Gracious!
Stella: And when he comes back I cry on his lap like a baby. ... [She smiles to herself.]
Blanche: I guess that is what/I meant by being in love.... [Stella looks up with a radiant smile.] Stella
Stella: What?
Blanche [in an uneasy rush]: I haven't asked you the things you probably thought I was going to ask. And so I'll expect you to be understanding about what have to tell you
Stella: What, Blanche? [Her face turns anxious.] Blanche: Well, Stella - you're going to reproach me, I know that you're bound to reproach me - but before you do take into consideration - you left! I stayed and struggled . You came to New Orleans and looked out for yourself! I stayed at Belle Reve and tried to hold it together! I'm not meaning this in any reproachful way, but all the burden descended on my shoulders.
Stella: The best I could do was making my own living, Blanche.
[Blanche begins to shake again with intensity.]
Blanche: I know, I know. But you are the one that abandoned Belle Reve, not I! I stayed and fought for it, bled for it, almost died for it!
Stella: Stop this hysterical outburst and tell me what's happened? What do you mean fought and bled? What kind of Blanche: I knew you would, Stella. I knew you would take this attitude about it
Stella: About - what? - please
Blanche [slowly]: The loss - the loss...
Stella: Belle Reve? Lost, is it? No! Blanche; Yes, Stella.
[They stare at each other across the yellow-checked linoleum of the table. Blanche slowly nods her head and Stella looks slowly down at her hands folded on the table. The music of the 'blue piano' grows louder. Blanche touches her handkerchief to her forehead.}
Stella: But how did it go? What happened?
Blanche {springing up}: You're a fine one to ask me how it went
Stella: Blanche!
Blanche: You're a fine one to sit there accusing me of it
Stella: Blanche!
Blanche: I, I, took the blows in my face and my body! All those deaths! The long parade to the graveyard! Father, mother! Margaret, that dreadful way! So big with it, it couldn't be put in a coffin! But had to be burned like rubbish You just came home in time for the funerals, Stella. And
funerals are pretty compared to deaths. Funerals are quiet, but deaths - not always. Sometimes their breathing is hoarse, and sometimes it rattles, and sometimes they even cry out to you, 'Don't let me go!' Even the old, sometimes, say. Don't let me go.' As if you were able to stop them! But funerals are quiet, with pretty flowers. And, oh, what gorgeous boxes they pack them away in! Unless you were there at the bed when they cried out, hold me' you'd never suspect there was the struggle for breath and bleeding. You didn't dream, but I saw! Saw! Saw! And now you sit there telling me with your eyes that I let the place go. How in hell do you think all that sickness and dying was paid for ? Death is expensive, Miss Stella! And old Cousin Jessie's right after Margaret's, hers. Why, the Grim Reaper had put up his tent on our doorstep! ... Stella. Belle Reve was his headquarters! Honey - that's how it slipped through my fingers! Which of them left us a fortune? Which of them left a cent of insurance even ? Only poor Jessie - one hundred to pay for her coffin. That was all, Stella! And I with my pitiful salary at the school. Yes, accuse me! Sit there and stare at me, thinking I let the place go! I let the place go? Where were you? In bed with your - Polak!
Stella [springing]: Blanche. You be still. That's enough [She starts out.]
Blanche: Where are you going?
Stella: I'm going into the bathroom to wash my face.
Blanche: Oh, Stella, Stella, you're crying.
Stella: Does that surprise you?
[Stella goes into the bathroom. Outside is the sound of men's voices. Stanley, Steve, and Mitch cross to the foot of the steps.]
Steve: And the old lady is on her way to Mass and she's late and there's a cop standin' in front of th' church an' she comes runnin* up an' says, 'Officer - is Mass out yet?' He looks her over and says, 'No, Lady, but y'r hat's on crooked I' [They give a hoarse bellow of laughter.] Steve; playing poker tomorrow night? Stanley: Yeah - at Mitch's. Mitch: Not at my place. My mother's still sick, [He starts off-}
Stanley [calling after him}: AU right, we'll play at my place ... but you bring the beer.
Eunice [hollering down from above]: Break it up down there I made the spaghetti dish and ate it myself.
Steve [going upstairs']: I told you and phoned you we was playing. [To the men} Jax beer! Eunice: You never phoned me once.
Steve: I told you at breakfast - and phoned you at lunch ...
Eunice: Well, never mind about that. You just get yourself home here once in a while.
Steve: You want it in the papers.
[More laughter and shouts of parting come from the men. Stanley throws the screen door of the kitchen open and comes in. He is of medium height, about five feet eight or nine, and strongly, compactly built. Animal joy in his being is implicit in all his movements and attitudes. Since earliest manhood the centre of his life has been pleasure with women, the giving and taking of it, not with weak indulgence, dependently, but with the power and pride of a richly feathered male bird among hens. Branching out from this complete and satisfying centre are all the auxiliary channels of his life, such as his heartiness with men, his appreciation of rough humour, his low of good drink and food and games, his car, his radio, everything that is his, that bears his emblem of the gaudy seed-bearer. He saw women up at a glance, with sexual classifications, crude images
flashing into his mind and determining the way he smiles at them.]
Blanche: [drawing involuntarily back from his stare}: You must be Stanley. I'm Blanche. Stanley: Stella's sister?
Blanche: Yes.
Stanley: H'lo. Where's the little woman?
Blanche: In the bathroom.
Stanley: Oh. Didn't know you were coming in town.
Blanche: I - uh
Stanley: Where you from, Blanche? Blanche: Why, I - live in Laurel. [He has crossed to the closet and removed the whisky bottle.]
Stanley: In Laurel, huh? Oh, yeah, in Laurel, that's right. Not in my territory. Liquor goes fast in hot weather. [He holds the bottle to the light to observe its depletion,] Have a shot? Blanche: No, I - rarely touch it.
Stanley: Some people rarely touch it, but it touches them often.
Blanche [faintly]: Ha-ha.
Stanley: My clothes're stickin' to me. Do you mind if I make myself comfortable? [He starts to remove his shirt.] Blanche: Please, please do.
Stanley: Be comfortable is my motto.
Blanche: It's mine, too. It's hard to stay looking fresh. I haven't washed or even powdered my face and - here you are!
Stanley: You know you can catch cold sitting around in damp things, especially when you been exercising hard like bowling is. You're a teacher, aren't you?
Blanche: Yes.
Stanley: What do you teach, Blanche?
Blanche: English. Stanley: I never was a very good English student. How long you here for, Blanche?
Blanche: I - don't know yet. Stanley: You going to shack up here?
Blanche: I thought I would if it's not inconvenient for you all.
Stanley: Good. Blanche: Travelling wears me out.
Stanley: Well, take it easy.
[A cat screeches near the window. Blanche springs up.] Blanche: What's that?
Stanley: Cats. ... Hey, Stella.
Stella [faintly, from the bathroom}: Yes, Stanley.
Stanley: Haven't fallen in, have you? [He grins at Blanche. She tries unsuccessfully to smile back. There is a silence.] I'm afraid I'll strike you as being the unrefined type. Stella's spoke of you a good deal. You were married once, weren't you? [The music of the polka rises up, faint in the distance.]
Blanche: Yes. When I was quite young.
Stanley: What happened?
Blanche: The boy - the boy died. [She sinks back down.] I'm afraid I'm - going to be sick!
[Her head falls on her arms.]
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SCENE TWO
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It is six o'clock the allowing evening. Blanche is bathing. Stella is completing her toilette. Blanche's dress, a flowered print, is laid out on Stella's bed.
Stanley enters the kitchen from outside, leaving the door open on the perpetual 'blue piano' around the corner.
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Stanley: What's all this monkey doings?
Stella: Oh, Stan! [She jumps up and kisses him, which he accepts with lordly composure.] I'm taking Blanche to Galatoires' for supper and then to a show, because it's your poker night.
Stanley: How about my supper, huh? I'm not going to no Galatoires' for supper!
Stella: I put you a cold plate on ice.
Stanley: Well, isn't that just dandy!
Stella: I'm going to try to keep Blanche out till the party breaks up because I don't know how she would take it. So we'll go to one of the little places in the Quarter afterwards and you'd better give me some money.
Stanley: Where is she?
Stella: She's soaking in a hot tub to quiet her nerves. She's terribly upset. Stanley: Over what? Stella: She's been through such an ordeal.
Stanley: Yeah?
Stella: Stan, we've - lost Belle Reve.
Stanley: The place in the country?
Stella: Yes.
Stanley: how? Stella [vaguely]: Oh, it had to be - sacrificed or something. [There is a pause while Stanley considers. Stella is changing into her dress.] When she comes in be sure to say something nice about her appearance. And, oh! Don't mention the baby. I haven't said anything yet, I'm waiting until she gets in a quieter condition.
Stanley [ominously}: So?
Stella: And try to understand her and be nice to her, Stan.
Blanche [singing in the bathroom]: From the land of the sky blue water, They brought a captive maid!'
Stella: She wasn't expecting to find us in such a small place. You see I'd tried to gloss things over a little in my letters.
Stanley: So?
Stella: And admire her dress and tell her she's looking wonderful. That's important with Blanche. Her little weakness!
Stanley: Yeah. I get the idea. Now let's skip back a little to where you said the country place was disposed of. Stella: Oh. - yes...
Stanley: How about that? Let's have a few more details on that subject.
Stella: It's best not to talk much about it until she's calmed down.
Stanley: So that's the deal, huh? Sister Blanche cannot be annoyed with business details right now
Stella: You saw how she was last night.
Stanley: Uh-hum, I saw how she was. Now let's have a gander at the bill of sale.
Stella: I haven't seen any.
Stanley; She didn't show you no papers, no deed of sale or nothing like that, huh ? Stella: It seems like it wasn't sold.
Stanley: Well, what in hell was it then, give away? To charity?
Stella: Shhh. She'll hear you.
Stanley: I don't care if she hears me. Let's see the papers.
Stella: There weren't any papers, she didn't show any papers, I don't care about papers. Stanley: Have you ever heard of the Napoleonic code?
Stella: No, Stanley, I haven't heard of the Napoleonic code and if I have, I don't see what it –Stanley: Let me enlighten you on a point or two, baby.
Stella: Yes?
Stanley: In the state of Louisiana we have the Napoleonic code according to which what belongs to the wife belongs to the husband and vice versa. For instance, if I had a piece of property, or you had a piece of property
Stella: My head is swimming!
Stanley: All right. I'll wait till she gets through soaking in a hot tub and then I'll inquire if she is acquainted with the Napoleonic code. It looks to me like you have been swindled, baby, and when you're swindled under the Napoleonic code I'm swindled too. And I don't like to be swindled. Stella: There's plenty of time to ask her questions later but if you do now she'll go to pieces again. I don't understand what happened to Belle Reve but you don't know how ridiculous you are being when you suggest that my sister or I or anyone of our family could have perpetrated a swindle on anyone else.
Stanley: Then where's the money if the place was sold?
Stella: Not Sold - lost, lost! [He stalks into bedroom, and she follows him.] Stanley! [He pulls open the wardrobe trunk standing in the middle of room and jerks out an armful of dresses.]
Stanley: Open your eyes to this stuff! You think she got them out of a teacher's pay.
Stella: Hush!
Stanley: Look at these feathers and furs that she come here to preen herself in What is this here?
A solid-gold dress, I believe! And this one. What is these here? Fox-pieces! [He blows on them.] Genuine fox fur-pieces, a half a mile long! Where are your fox-pieces, Stella? Bushy snow- white ones, no less! Where are your white fox-pieces?
Stella: Those are inexpensive summer furs that Blanche has had a long time.
Stanley: I got an acquaintance who deals in this sort of merchandise. I'll have him in here to appraise it. I'm willing to bet you there's thousands of dollars invested in this stuff here!
Stella: Don't be such an idiot, Stanley
[He hurls the furs to the daybed. Then he jerks open a small drawer in the trunk and pulls up a fistful of costume jewellery.]
Stanley: And what have we here? The treasure chest of a pirate
Stella: Oh, Stanley
Stanley: Pearls! Ropes of them! What is this sister of yours, a deep-sea diver who brings up sunken treasures? Or is she the champion safe-cracker of all time! Bracelets of solid gold, too. Where are your pearls and gold bracelets?
Stella: Shhh! Be still, Stanley!
Stanley: And diamonds. A crown for an empress!
Stella: A rhincstone tiara she wore to a costume ball.
Stanley: What's rhinestone?
Stella: Next door to glass.
Stanley: Are you kidding? I have an acquaintance that works in a jewellery store. I'll have him in here to make an appraisal of this. Here's your plantation, or what was left of it, here!
Stella: You have no idea how stupid and horrid you're being! Now close that trunk before she comes out of the bathroom!
[He kicks the trunk partly closed and sits on the kitchen table.]
Stanley: The Kowalskia and the DuBois have different notions.
Stella [angrily]: Indeed, they have, thank heavens! –I’m going outside. [She snatches up her white hat and gloves and crosses to the outside door.} You come out with me while Blanche is getting dressed.
Stanley: Since when do you give me orders?
Stella: Are you going to stay here and insult her?
Stanley; You're damn tootin' I'm going to stay here.
[Stella goes out on the porch. Blanche comes out of the bathroom in a red satin robe.]
Blanche [airily]: Hello, Stanley! Here I am, all freshly bathed and scented, and feeling like a brand-new human being!
[He lights a cigarette.}
Stanley: That's good.
Blanche [drawing the curtains at the windows]: Excuse me while I slip on my pretty new dress!
Stanley; Go right ahead, Blanche.
[She closes the drapes between the rooms]
Blanche: I understand there's to be a little card party to which we ladies are cordially not invited.
Stanley [ominously]: Yeah?
[Blanche throws off her robe and slips into a flowered print dress.]
Blanche: Where's Stella?
Stanley: Out on the porch.
Blanche: I'm going to ask a favour of you in a moment.
Stanley: What could that be, I wonder?
Blanche: Some buttons in back! You may enter! [He crosses through drapes with a smouldering look.] How do I look?
Stanley: You look all right.
Blanche: Many thanks! Now the buttons!
Stanley: I can't do nothing with them.
Blanche: You men with your big clumsy fingers. May I have a drag on your Cig?
Stanley: Have one for yourself.
Blanche: Why, thanks.... It looks like my trunk has exploded.
Stanley; Me an' Stella were helping you unpack.
Blanche: Well, you certainly did a fast and thorough Job of it!
Stanley: It looks like you raided some stylish shops in Paris.
Blanche; Ha-ha! Yes - clothes are my passion
Stanley: What docs it cost for a string of fur-pieces like that?
Blanche: Why, those were a tribute from an admirer of mine
Stanley; He must have had a lot of- admiration
Blanche: Oh, in my youth I excited some admiration. But look at me now! [She smiles at him radiantly,] Would you think it possible that I was once considered to be - attractive?
Stanley: Your looks are okay.
Blanche: I was fishing for a compliment, Stanley.
Stanley: I don't go in for that stuff.
Blanche: What - Stuff?
Stanley: Compliments to women about their looks. I never met a woman that didn't know if she was good- looking or not without being told, and some of them give themselves credit for more than they've got I once went out with a doll who said to me, 'I am the glamorous type, I am the glamorous type!' I said, 'So what?’
Blanche: And what did she say then?
Stanley: She didn't say nothing. That shut her up like clam.
Blanche: Did it end the romance?
Stanley: It ended the conversation - that was all. Some men are took in by this Hollywood glamour stuff and some men are not.
Blanche: I'm sure you belong to the second category.
Stanley: That's right.
Blanche:I cannot imagine any witch of a woman casting a spell over you.
Stanley: That's - right.
Blanche: You're simple, straightforward and honest, a little bit on the primitive side I should think.
To interest you a woman would have to - [She pauses with an indefinite gesture.]
Stanley [slowly]: Lay ... her cards on the table.
Blanche [smiling]: Yes - yes - cards on the table.... Well, life is too full of evasions and ambiguities, I think. I like an artist who paints in strong, bold colours, primary colours. I don't like pinks and creams and I never cared for wish-washy people. That was why, when you walked in here last night, I said to myself - 'My sister has married a man.' - Of course that was all that I could tell about you.
Stanley [booming]: Now let's cut the rebop!
Blanche [pressing hands to her ears]: Ouuuuu !
Stella [calling from the steps]: Stanley! You come out here and let Blanche finish dressing!
Blanche: I'm through dressing, honey.
Stella: Well, you come out, then.
Stanley: Your sister and I are having a little talk.
Blanche [lightly]: Honey, do me a favour. Run to the drug- store and get me a lemon-coke with plenty of chipped ice in it. Will you do that for me, Sweetie?
Stella [uncertainly]: Yes.
[She goes round the comer of the building.]
Blanche: The poor thing was out there listening to us, and I have an idea she doesn't understand you as well as I do.... All right; now, Mr Kowalski, let us proceed without any more double-talk. I'm ready to answer all questions. I've nothing to hide. What is it?
Stanley: There is such a thing in this State of Louisiana as the Napoleonic code, according to which whatever belongs to my wife is also mine - and vice versa.
Blanche: My, but you have an impressive judicial air
[She sprays herself with her atomizer; then playfully sprays him with it. He seizes the atomizer and slams it down on the dresser. She throws back her head and laughs.]
Stanley: If I didn't know that you was my wife's sister I'd get ideas about you
Blanche: Such as what?
Stanley: Don't play so dumb. You know what. - Where's the papers?
Blanche: Papers?
Stanley: Papers. That stuff people write on!
Blanche: Oh, papers, papers. Ha-ha! The first anniversary gift, all kinds of papers
Stanley: I'm talking of legal papers. Connected with the plantation.
Blanche: There were some papers.
Stanley; You mean they're no longer existing?
Blanche: They probably are, somewhere.
Stanley: But not in the trunk.
Blanche: Everything that I own is in that trunk.
Stanley: Then why don't we have a look for them?
[He crosses to the trunk, show it roughly open, and begins to open compartments.]
Blanche: What in the name of heaven are you thinking of What's in the back of that little boy's mind of yours? That I am absconding with something, attempting some kind of treachery on my sister. - Let me do that! It will be faster and simpler. ... [She crosses to the trunk and takes out a box.] I keep my papers mostly in this tin box. [She opens it.]
Stanley: What's them underneath? [He indicates another sheaf of paper.]
Blanche: These are love-letters, yellowing with antiquity, all from one boy. [He snatches them up. She speaks fiercely.] Give those back to me!
Stanley: I'll have a look at them first!
Blanche: The touch of your hands insults them!
Stanley: Don't pull that stuff!
[He rips off the ribbon and starts to examine them. Blanche snatches them from him, and they cascade to the floor.]
Blanche: Now that you've touched them I'll burn them
Stanley [staring, baffled]: What in hell are they?
Blanche [on the floor gathering them up]: Poems a dead boy wrote. I hurt him the way that you would like to hurt me, but you can't! I'm not young and vulnerable any more. But my young husband was and I — never mind about that! Just give them back to me!
Stanley: What do you mean by saying you'll have to burn them?
Blanche: I'm sorry, I must have lost my head for a moment. Everyone has something he won't let others touch because of their — intimate nature. ... [She now seems faint with exhaustion and she sits down with the strong box and puts on a pair of glasses and goes methodically through a large stack of papers.] Ambler & Ambler. Hmmmmm.... Crabtree..... More Ambler &-Ambler.
Stanley: What is Ambler & Ambler?
Blanche; A firm that made loans on the place.
Stanley: Then it was lost on a mortgage?
Blanche [touching her forehead}: That must've been what happened.
Stanley: I don't want no ifs, ands, or buts! What's all the rest of them papers ?
[She hands him the entire box. He carries it to the table and starts to examine the papers.]
Blanche [picking up a large envelope containing more papers]: There are thousands of papers, stretching back over hundreds of years, affecting Belle Reve as, piece by piece, our improvident grandfathers and father and uncles and brothers exchanged the land for their epic fornications to put it plainly! [She removes her glasses with an exhausted laugh.] Till finally all that was left - and Stella can verify that! - was the house itself and about twenty acres of ground, including a graveyard, to which now all but Stella and I have retreated. [She pours the contents of the envelope on the table.} Here all of them are all papers! I hereby endow you with them. Take them, peruse them - commit them to memory, even. I think it's wonderfully fitting that Belle Reve should finally be this bunch of old papers in your big, capable hands! ... I wonder if Stella's come back with my lemon-coke....
[She leans back and closes her eyes]
Stanley: I have a lawyer acquaintance who will study these out
Blanche: Present them to him with a box of aspirin tablets.
Stanley [becoming somewhat sheepish]: You see, under the Napoleonic code —a man has to take an interest in his wife's affairs - especially now that she's going to have a baby.
欲望号街车原文
the exterior of a two-story corner building on a street in new orleans about: https://www.wendangku.net/doc/1c3754985.html,/Streetcar.html A STREETCAR NAMED DESIRE And so it was I entered the broken world To trace the visionary company of love, its voice An instant in the wind [I know not whither hurled] But not for long to hold each desperate choice. HART CRANE The Broken Tower THE CHARACTERS The first London production of this play was at the Aldwych Theatre on Wednesday,.2 October.949, with the following cast: Blanche DuBois Vivien Leigh Stella Kowalski Rerw Asfwrson Stanley Kowalski Bonar Colleam Harold Mitchell [Mitch] Bernard Braden Eunice Hubbel Eileen Dale Steve Hubbel Lyn Euans Pablo Gonzales Theodore Bikel Negro woman Brwe Howard A strange man [doctor] Sidney Monckton A strange woman [nurse] Mona Lilian A young collector John Farrest A Mexican woman Eileen Way Directed by Laurence Olivier Setting and lighting by Jo meilziner Costumes by Beatrice Dawson ******************************************************************************* ********** SCENE ONE The exterior of a two-storey corner building on a street in New Orleans which is named Elysian Fields and runs between the L & N tracks and the river. The section is poor but unlike corresponding sections in other American cities, it has a raffish charm. The houses are mostly white frame, weathered grey, with rickety outside stairs and galleries and quaintly ornamented gables. This building contains two flats, upstairs and down. Faded white stairs ascend to the entrances of both. It is first dark of an evening early in May. The sky that shows around the dim white building is a peculiarly tender blue, almost turquoise, which invests the scene with a kind of lyricism and gracefully attenuates the atmosphere of decay. You can almost feel the warm breath of the brown river beyond the river warehouses with their faint redolences of bananas and coffee. A corresponding air is evoked by the music of Negro entertainers at a bar-room around the corner. In this part of New Orleans you are practically always just around the corner, or a few doors down the street, from a tinny piano being played with the infatuated fluency of brown fingers. This blue piano' expresses the spirit of the life which goes on here. [Two women, one white and one coloured, are taking the air on the steps of the building. The white woman Eunice, who occupies the upstairs flat; the coloured woman a neighbour, for New Orleans is a cosmopolitan city where there is a relatively warm and easy intermingling of races in the old part of town. Above the music of the 'blue piano', the voices of people on the street can be heard overlapping.] Negro woman [to Eunice]: ... she says St Barnabas would send out his dog to lick her and when he did she'd feel an Icy cold wave all up an' down her. Well, that night when –
欲望号街车观后感
《欲望号都市》鉴赏 事物的发展是内因和外因共同起作用的结果。内因是事物变化发展的根据，外因是事物变化发展的必要条件，外因透过内因起作用。——这是开篇我想说的话，也是这部戏剧给我感受最深的地方。 全长120多分钟的戏剧，在一开始放映的时候，我是抱着一种娱乐消遣的心态来观看的，并没有抱着过多期待的心态。可随着剧情的深入，我开始了自己的对戏剧剧情的思考。 在电影进行了大约三分之一的时候，我还并不是很清楚它到底要给我们表达些什么，我的心里还存在着很多疑问的地方。比如：为什么戏剧要以布兰奇从车站下车开场？布兰奇又是因为什么而来奥尔良找她的妹妹丝黛拉？当丝黛拉问她离开的原因时，她为什么闪烁其词，表现的神经失常？她在初见斯坦利的时候，到底是出于一种什么样的心态？在她明显地表现出是在勾引和诱惑斯坦利的时候，我对她的行为感到非常地愤慨。同时，出于对善良的丝黛拉的同情，我很担心斯坦利是否会因受到诱惑而背叛丝黛拉。在剧情还未深入的情况下，我对斯坦利的为人表示怀疑。 这些疑问在后来的剧情发展中逐步地得到了解决。在斯坦利无情地揭露布兰奇在家乡奥里维尔的丑闻之前，整个剧情走的线路都是比较温馨的，当然，布兰奇与斯坦利两人之间的冲突也是必要的，一方面，是为了让剧情显得并不是那么柔和，戏剧本身的定位的就是一部悲剧，另一方面，则是为剧情高潮的到来做了铺垫。也正是布兰奇和斯坦利两人性格的冲突，导致了最后矛盾的激化。斯坦利残忍地撕碎了布兰奇重新生活的梦想，让她好不容易重新获得的幸福毁于一旦。布兰奇的存在，一直是不愿跟脏烂社会同流合污的高洁形象。为了不当花瓶，为了自我清高，也为了神圣爱情，布兰奇潜藏了个人累累前锴，避开了个人重重旧恶，换然面貌，来至所谓天堂福地，渴求新的生活，欲望新的活身。欲望重生的艳情。可是面前一切，都是那么冷酷严惨。不依不饶。 布兰奇的悲剧，在我个人认为，是时代造就的悲剧。每一部小说的背后都隐藏着沉重的时代因素。《西游记》里孙悟空好打妖怪，“西天取经”他表现出的见恶必除，除恶必尽的精神，正是作者想要给世人展示的面对封建势力勇于反抗的精神。同样的道理，布兰奇的悲剧在于她深受时代的腐蚀，她向往高贵，却又存在低寒，她迷恋富足，却又失落在穷困。姐妹俩都接受过旧式的南方教育，从小接受的教育使她变得高雅的同时，也让她有了那无言的欲望。她追求完美，表现得体，喜好富贵。而欲望对于她来说就是火，当欲望受到现实的种种限制而无法实现的时候，她便逐步走上了引火自焚的道路。 在布兰奇告诉米奇自己丈夫不幸的死亡时，她是这样描述的：“我‘杀死’了那年轻的孩子。”在我看来，丈夫的死，多少她是脱不了干系的。也正是她丈夫的死，开启了她的不幸之路，使得她走到了今天的局面。若不是那无言的欲望在作祟，她怎么会认为自己的丈夫太无能？若不是出于对丈夫的死的自责和内疚，她又怎么会患得患失，精神失常，以致于最后走上了那么一条淫荡不堪的路？看看丝黛拉，多么善良纯朴。若不是心中那欲望的存在，相信布兰奇也会像丝黛拉一样幸福，拥有自己的小房子，和自己可爱的孩子、体贴的丈夫幸福地度过一生。 影片最后的镜头让人难以忘怀：难过的丝黛拉，负疚的斯坦利和羞愧的米
欲望号街车翻译
欲望号街车——姐妹相认部分（改编后） [Blanche sits in a chair very stiffly with her shoulders slightly hunched and her legs pressed close together and her hands tightly clutching her purse as if she were quite cold. After a while, the blind look goes out of her eyes and she begins to look slowly around. A cat screeches. She catches her breath with a startled gesture. Suddenly she notices something in a half- opened closet. She springs up and crosses to it, and removes a whisky bottle. She pours a half tumbler of whisky and tosses it down. She carefully replaces the bottle and washes out the tumbler at the sink. Then she resumes her seat in front of the table.] 【however， Stella has not came back yet. Blanche determined to look for her. She came to the bowling alley, which Eunice had told her.】[She came in the bowling ally,head towards to bar counter.] Waiter: Hello. madam ,what can I do for you? Blanche:Well,I am looking for Stella,I mean Mrs Stanley. Waiter:She is over there.[he poins to the crowd] Blanche:thanks.[she working to there] [Stella comes quickly and runs to bar counter.] Stella [calling out joyfully]: Blanche! [For a moment, they stare at each other. Then Blanche springs up and runs to her with a wild cry.] Blanche: Stella, oh, Stella, Stella! Stella for Star! [She begins to speak with feverish vivacity as if she feared for either of them to stop and think. They catch each other in a
浅析《欲望号街车》女性形象
浅析《欲望号街车》女性形象 论文摘要： 田纳西?威廉姆斯的《欲望号街车》是一部充满不朽魅力的作品,作品为我们塑造了没落的南方贵族女性布兰奇孤独的、脆弱的、身心畸形的形象,社会优越感、自命清高和恣意放纵成为其悲剧命运的外在原因。本文通过描述布兰奇在社会变革的历史背景下如何对人生进行选择,并如何走向毁灭的,旨在探讨南方种植园文化败落过程中女性悲剧命运的深层社会的原因。 论文引言： “Well，they told meto take a streetcarnamed Desire，and thentransfertoonecalledCemeteries，na difdesixblocksandget ofatElysina Fields．”这是经典影片《欲望号街车》里女主人公寓含寓意的开场白。我们看到一个美丽幽雅的女人，面妙遮掩憔悴的脸庞，无助地左顾右盼，会想象一只美丽而弱小的“自蛾”正舞动着一对薄薄的翅膀扑向一堆将息的灰烬。然而随着剧情深入，布兰奇不为人知的放浪形骸和矫揉造作的贤淑清纯逐一显露，我们不禁迷惑：布兰奇究竟是怎样一个人物，髟象?评论家们为此长期争执，得出许多不同的结论：一些专注于她的温柔、教养、理想主义，视其为出身没落贵族的优雅淑女；另一些则鄙夷她的虚伪做作、不知廉耻，认为她代表堕落世界的轻浮荡妇。在笔者看来，布兰奇是一个蜷缩在自己阴暗的幻想世界里，不敢正视现实生活的悲剧女性。 社会变革的牺牲品—布兰奇 布兰奇作为传统的南方贵族淑女，自幼在种植园经济的生活方式下成长，接受南方思想的教育，作为在淑女绅士的浪漫田园王国。南方保守而封闭的种植园经济，还有传统的农业文明，甚至宗教上的偏执的清教主义，都从思想观念和生活方式等方面烙印她的潜意识里。在相继失去了亲人、丈夫、土地和工作之后，布兰奇由不必为物质担忧，以高贵美丽、优雅迷人为己任的公主逐渐沦为失去亲人保护、被驱逐的底层人士。不得不来到位于新奥尔良的妹妹丝黛拉和妹夫斯坦利的家。乘坐欲望号街车来到天堂福地后布兰奇迷茫而无助的发现这个天堂福地俨然如贫民窟般、杂乱、肮脏、狭小、人员复杂。外界的截然不同的新环境与布兰奇得体的衣着反差巨大。尽管此时的她已经发现了这个现实，但还是坚持活在自己的幻想中。她外表光鲜。热衷于漂亮的衣服和首饰，尽显女性的温柔高贵优雅。即使在又脏又乱的天堂福地，仍在幻想过着诗歌、音乐、舞蹈、绅士、淑女组成的上流社会生活。她对来自社会底层的妹夫斯坦利充满嘲讽鄙夷，叫他“波兰佬、类人猿”。多次引导妹妹丝黛拉回想ＪＤＮ的贵族生活，强调她们高贵的血统和身份，认为丝黛拉不应该委屈自己过着这种无法想象的噩梦般的日子。尽管布兰奇始终坚持内心理想，渴望追求到受尊重的绅士淑女的感情关系，但她自觉的以男性的价值标准来塑造自己。过分的注重自己的外表．尤其是在与男性打交道时：衣着得体，谈吐高雅，温柔被动，纯洁善良。可光鲜的外表难掩一颗空虚而又恐慌的心，她始终依附着男性生存。布兰奇有过一次婚姻，她深爱丈夫艾伦，那是她感情和生存的依赖．然而也是她的不理解和羞辱导致了 艾伦的自杀。丈夫死后布兰奇失去了生活和情感的依靠，她的愧疚和恐慌折磨着她和陌生人发生亲密关系。就是唯一可填补她心灵空白的方法了。这种排解心灵空的方式也是男权主义在布兰奇身上的变异，正如波伏娃在《第二性》中所
《欲望号街车》人物塑造分析
进退两难 ——浅析《欲望号街车》的人物塑造 《欲望号街车》是美国戏剧家田纳西·威廉斯最享盛名的作品，剧本通过对人物心里矛盾和冲突的深刻刻画，使得每个主人公都有着鲜明的性格特点，同时也通过鲜活的人物勾画出了当时美国的社会现状，让人过目不忘，感同身受。 一个剧本里的人物，一定离不开剧本内的社会背景，而一个真正优秀的剧本，即使远离了当时所写的社会背景，甚至将它的主要人物抽离出来放在任何一个时代，也都是有着深刻思考意义的。就如《欲望号街车》中的布兰奇、史坦利和史黛拉，抛开威廉斯创作时美国南北方问题的背景，三者的特征俨然已经上升到了人性高度，在任何一个国家和地区，都能唤起人类内心对其的感性认识与理性思考，这也是剧本在全世界得到共鸣的原因所在。 以下是对《欲望号街车》中主要人物布兰奇、史坦利和史黛拉的浅析： 一、布兰奇 女主角布兰奇是《欲望号街车》里的中心人物，整个故事从“她来到北方投靠妹妹史黛拉”开始，渐渐引出布兰奇内心的对情的痴求，对肉欲的无法抗拒，以及现实环境与她的格格不入，以致最后被送进疯人院。 剧中主要通过布兰奇与他人之间发生的事件来表现其个性，反之也是以布兰奇的内心逐渐崩溃来推进事件发展的。最开始，布兰奇来到城里找妹妹史黛拉，当她发现史黛拉住的是破旧的贫困街区时，她表现出的惊讶体现了她和这个环境不适宜。很快，布兰奇的到来使妹夫史坦利感到怀疑，他与妻子史黛拉争吵了起来。两个人从始至终的争吵都是因为布兰奇，或者说是因为这个不合适的“贵族”在贫民区显得太多耀眼，遭人嫉妒和嫌弃。这从侧面反应了布兰奇身上故作出来的气质。接下来，布兰奇与史坦利第一次争吵的时候，布兰奇试图表现自己的优雅，但被史坦利打断，直到箱子的信件被翻出来，布兰奇第一次表现了她内心对情爱渴望而又受伤的一面。 如果说之前几场戏都只是为了引出布兰奇这个人的话，那么真正对布兰奇的刻画是在她遇见了喜欢的人（史坦利的朋友）米奇之后。从她与米奇的交谈以及对米奇的眼神中，可以看到她对米奇有爱，但从她与史黛拉的对话中又能知道她想要维持自己高雅的形象，这种矛盾是出自布兰奇对自我及他人的欲望。在与米奇的交往过程中，米奇表达了自己“只是为了病重的母亲要立即结婚”的世俗想法，而布兰奇则完全背道而驰地表现了她曾经迷恋的男人因她死去，她内心的痛苦等，这时似乎米奇也被布兰奇的这种高雅纯洁所打动。到了最后，史坦利向米奇揭穿了布兰奇，说她只是个低俗的女人时，米奇放弃了布兰奇。布兰奇向史坦利坦白了一切，说明自己是因为曾失去心爱的人才会放
欲望号街车
第一幕 ST Sister Blanche, I've got a little birthday remembrance for you. I hope that you like it. B Why- Why, it's a ST It's a ticket! Back to Auriol! On a bus! Tuesday! S Blanche! You didn't need to do that. ST Don't forget all that I took off her. S You don't need to be so cruel to someone alone as she is. – ST Delicate article as she is. S She is! She was! You didn't know Blanche as a girl. Nobody, nobody, was as tender and trusting as she was. But people like you abused her, and forced her to change. B Oh, stop it! S Why did you do this to her? ST Let go of my shirt. S I want to know why. Tell me why. ST The first time, baby, when we first met, me and you , baby, you thought I was common as dirt. How right you was, I was common as dirt. And wasn't we happy together, wasn't all okay till she showed here? Hoity-toity, describing me like an ape. Stella! What 's the matter with you? B Honey, what's the matter with you? ST Did I hurt you? B Honey? What is it? S Take me to the hospital. 第二幕 B Who is it , please? M Me- me, me. Mitch. B Hello Mitch! Y' know, I really shouldn't let you in after the treatment I have received from you this evening! So utterly uncavalier! But I forgive you. I forgive you because it' s such a relief to see you. You've stopped that polka tune that I had caught in my head. How's your mother? Is your mother ill? M Why? B Why, what's the matter with you tonight? But never mind，I'll just- pretend I don't notice anything different about you! That- music a gain… M What music? B The polka tune they were playing when Allan- wait! There! That shot! It always stops after that. Yes, now it's stopped. M Are you boxed out of you r mind? B I cant hear what u r saying ,Had you forgotten your invitation to supper? M I wasn't going to see you any more. B What's in your mind? I see something in your eyes! M I've never seen you in the light, that's a fact! I've never had a real good look at you, Blanche,
欲望号街车 中文剧本概述
《欲望号街车》全本 人物表 白兰琪斯蒂拉斯坦利 米奇尤尼斯斯狄夫 巴勃罗黑人妇女大夫 护士年轻收款员墨西哥妇女 第一场 【新奥尔良一条街拐角一栋两层楼房的外景。街名依利恩地段，位于L及N交通沿线与河之间。这地区虽穷，但却和美国其他城市里相应的地区不同，倒有一种可爱的俗气。房子大都是白色框架，因风吹日晒已变成灰色，外面有一道摇摇欲坠的楼梯、走廊和装饰古怪的山墙。楼房有上下两套房间，由一道白色油漆已经脱落的楼梯通往这两套房间的门口。 【这是五月初傍晚天刚黑的时候。天空衬着朦朦胧胧的白楼房显得特别蔚蓝，使景色增添了优雅的情趣，巧妙地冲淡了落日的气氛。你仿佛可以嗅到从那黄褐色的河面飘来的热气，河岸远处有一排排散发着香蕉和咖啡清香的仓库。黑人乐队在街头拐角一家酒吧间里奏出配合气氛的音乐。在新奥尔良这一地区，你总可以在街角或沿街走不到几家门口，就能听到由棕色的手指在小钢琴上娴熟的演奏出的音乐。这种“布鲁斯钢琴曲”表达出此地的生活风貌。 【两个妇女，一个白人和一个黑人，正在楼梯上乘凉。白人妇女是住在楼上套间的尤尼斯；黑人妇女是邻居，因为新奥尔良是个世界性城市，旧城有多名族混杂居住，相处的比较热情和睦。 【街上传来人声，盖住了“布鲁斯钢琴曲”。 【两个男人，斯坦利.科华尔斯基和米奇走到街头拐角。他们二十八或三十岁左右，随随便便穿着一身蓝色斜纹工作服。斯坦利拿着他的滚木求外套和一包从肉铺里买来沾着血斑的东西。他们在楼梯口停下。 斯坦利：（大声喊）喂，喂！斯蒂拉，宝贝！ 【斯蒂拉从底层平台上走出来。她是个年轻温厚的女人，二十五岁左右，出身显然和她丈夫大不相同。 斯蒂拉：（温和的）别这样对我嚷嚷。米奇，你好。 斯坦利：接住！ 斯蒂拉：什么东西“ 斯坦利：肉！ 【他把纸包递给她。她责怪的叫起来，勉强接住，随即喘着气笑起来。她丈夫和同伴已转身回街角。 斯蒂拉：（在他后面喊）斯坦利！你去哪儿？ 斯坦利：打滚木球去！ 斯蒂拉：我可以来看吗？ 斯坦利：来吧。（下） 斯蒂拉：一会儿就完了。（对白人妇女）喂，尤尼斯，你好吗？ 尤尼斯：很好。告诉斯狄夫给他自己穷小子买点三明治，因为这里什么都没剩的了。 【她们全笑了；那个黑人妇女尤其笑个不停。斯蒂拉下。 黑人妇女：他掷给他的那包是什么？（从阶梯上站起来，更大声地笑） 尤尼斯：嘘！你别吵了！ 黑人妇女：接住什么？ 【她继续大笑。白兰琪提着一只旅行包从街角走出来。她看看拿着的纸条，望望楼房，接着又看看纸条，再望望楼房。她露出惊愕不相信的神情。她的衣着和这个环境很不协调。她穿着一身讲究的白色衫群，束着一条柔软的腰带。戴着项链，珍珠耳环，白手套和帽子，看来就像是来花园区参加夏季茶会或鸡尾酒会
分析《欲望号街车》布兰奇悲剧命运的成因
分析《欲望号街车》布兰奇悲剧命运的成因 摘要：田纳西?威廉斯是20世纪美国文学最杰出的剧作家之一。在《欲望号街车》中他成功地刻画了布兰奇这一悲剧形象，并于1948年赢得了普利策戏剧奖。《欲望号街车》的出版标志着他在戏剧创作上达到了前所未有的高度。 本文分为三部分，着眼于分析布兰奇悲剧命运的成因。第一部分概述了威廉斯的生平和他的作品《欲望号街车》。第二部分通过描写美国南方种植园经济和男权社会揭示了 造成女主角悲剧的社会历史环境。本文进一步分析了导致布兰奇走向毁灭的直接原因包括艾伦的背叛，麦奇的遗弃，斯坦利的迫害。与这三个人的关系将布兰奇推向悲剧的深渊。除了外部因素外，布兰奇自身的性格缺陷像沉溺于幻想与虚伪使她难逃悲剧的厄运。作为结论，最后一部分给处于相似境遇的现代人提供了一些启示。跟随时代的步伐是明智的。接受改变，从不沉溺在幻想的世界是最好的求生之道。 关键词：悲剧；成因；幻想；虚伪 一、简介 田纳西?威廉斯是二十世纪美国著名的剧作家，他在美国戏剧界的声望可以与尤金?奥尼尔相提并论。威廉斯出生在密西西比州。他在度过了不愉快的高中时光后，先后上了三所大学。在1929，他进入密苏里州大学，在这里，他创作了的
第一部独幕剧《美就一个字》。这部戏在当地竞赛中获得好评。从1928年处女作短篇小说《尼特克里斯复仇》的发表至1983年，威廉斯共完成了25部长剧、40部短剧和12部剧本，其中包括那些已经制作和未完成的剧本，因此他被誉为一名富有成效的剧作家。其中1948的《欲望号街车》和1955年的《热铁皮屋顶上的猫》曾助他两夺普利策奖和戏剧评论奖。 《欲望号街车》被普遍认为是20世纪最优秀的戏剧之一。女主角布兰奇在密西西比州劳雷尔小镇被开除，失去了在贝尔的房子，她被迫求助于住在新奥尔良的姐姐斯特拉。斯特拉已经结婚。因为布兰奇和她的姐夫斯坦利来自不同的家庭，对价值观和生活方式有着不同的态度，在斯特拉的家里，他们之间充满了冲突。该剧的高潮是布兰奇被斯坦利残忍地强奸，被送到疯人院。 二、《欲望号街车》中布兰奇悲剧的成因分析 田纳西?威廉斯擅长于描绘传统的南方女性形象，他们中的大多数人都敏感、脆弱和沮丧。《欲望号街车》的女主角布兰奇?杜布瓦就是其中的代表者。《欲望号街车》讲述了南部女性布兰奇的悲惨生活。而她的悲剧有多种原因造成。 A.社会和历史环境 南北战争于1861爆发后，守旧的南方制度被摧毁，南方的种植园经济逐渐衰退，并被日益发达的资本主义经济所
《欲望号街车》女主人公悲剧性命运的女性主义解读
最新英语专业全英原创毕业论文，都是近期写作 1 An Analysis of the Religious Elements in Robinson Crusoe 2 The Lost Generation—―Nada‖ in Hemingway’s ―A Clean, Well-Lighted Place‖ 3 少儿英语游戏教学策略研究 4 通过象征主义、梭罗的自然思想和梭罗的个人主义析《瓦尔登湖》 5 论苔丝悲剧的成因 6 英语会话中间接拒绝语的语用研究 7 初中生英语学习内在动机的激发 8 英语商务演讲的技巧 9 A Comparative Study of Jane Eyre and Vanity Fair——From the Perspective of Governess in Victorian Age 10 汽车广告中的中西文化差异研究 11 相同之爱，不同诠释——从美剧《吉尔莫女孩》看东西方母女关系之异同 12 评析杰克伦敦小说《荒野的呼唤》中巴克的象征意象 13 女权主义及其对英语语言中性别歧视的影响 14 《白鲸》原型批判的分析 15 珀西?雪莱抒情诗意象研究 16 《永别了，武器》的意象分析 17 英汉语篇衔接手段对比研究——以《荷塘月色》英译本为例 18 论圣经诗篇的修辞特点 19 英文电影片名汉译的创造性叛逆原则 20 《野性的呼唤》中的自然主义 21 《老人与海》中圣地亚哥的人物性格分析 22 从爱伦·坡《黑猫》探讨人性的善良与邪恶 23 浅析爱伦坡《乌鸦》的语音象征 24 中式菜谱英译策略研究 25 从黑人女性主义解读《宠儿》中塞丝的觉醒 26 从目的论角度浅谈电影字幕翻译 27 论《达芬奇密码》中的基督教元素 28 汉语流行语中的汉英语码混用现象探微 29 从常见的中英文名字比较中英两国命名文化差异 30 不可缺少的书信——《傲慢与偏见》中书信功能的研究 31 黑色幽默在《第条军规》中的运用 32 基于学习共同体的自主学习模式研究 33 To Obey or Rebel –A Study of Female Characters in Moment in Peking 34 国际商务谈判中的文化差异分析 35 论《爱玛》中简?奥斯丁的女性主义观 36 汉英翻译中的中式英语的成因及对策 37 《好人难寻》中体现出的弗洛伊德人格结构理论 38 《推销员之死》的文化解读 39 中国菜名英译的恰当方法 40 分析简爱的美 41 分析西方末世论在美国电影中的体现
《欲望号街车》的象征体系与身份冲突
龙源期刊网 https://www.wendangku.net/doc/1c3754985.html, 《欲望号街车》的象征体系与身份冲突 作者：江净沙 来源：《丝绸之路》2013年第04期 [摘要]本文借助格雷马斯符号方阵分析电影《欲望号街车》中的两个体系：权力体系与欲望体系，以此考察剧中角色的符号身份冲突，兼论一些重要的象征元素及它们对体系的意义。 [关键词]《欲望号街车》；象征体系；身份冲突 [中图分类号]J905 [文献标识码]A [文章编号]1005-3115（2013）04-0018-02 本文要讨论的是伊利亚·卡赞根据田纳西·威廉斯的剧本改编而来的电影《欲望号街车》。作为将舞台剧搬上荧幕的一例经典，《欲望号街车》保留了舞台剧的一大特点，就是对于道具和布景的要求很高，尽量让每一个元素都精准而巧妙地发挥最大的戏剧力量，创造强烈的戏剧效果。所以，在电影中我们能够察觉到相当丰富的象征元素，这些元素构成了一个饱满的体系，揭示了该剧的内在形式和叙述结构，更进一步产生了强烈的戏剧冲突，从而成为电影史上的不朽杰作。 一、身份结构与权力体系 首先，我们容易辨别出的是，剧中有一个显在的结构，该结构存在于通过简单的情节获知就可得到的人物身份的符号性关系中，笔者且称之为“身份结构”。这个结构在戏剧表演中通过人物的行为表现为对自我身份的确立、对戏剧元素的占有和对话语权力的争夺。它是角色相遇和产生冲突之地，如果没有这个结构，文本深层的内涵形式便不可能被揭示。由此生发出的这个体系被称为“权力体系”。 根据格雷马斯的符号矩阵，可将此结构模型建立如下： 需要说明的是，此结构中各项的确立仅仅依据符号关系，比如布兰琪失去了庄园，应属于“非女主人”，而我们依然以人物在剧中的行为来确定其符号身份，例如米奇对于他生病的母亲的听从，令他处于非主人的地位。所以，描绘一种身份结构或权力体系属于“做”的模态范畴，而相对的是处在隐性的“存在”之模态范畴。剧中人物带着各自的隐性结构而来，在戏剧行为中相遇，表现为符号身份的冲突。 二、身份冲突 权力体系内的冲突在剧中是由斯坦利主导的，我们稍加留意就会发现几个重要的戏剧高潮表现为斯坦利情绪的失控：第一次是从第八幕开始到第十八幕终的扑克之夜冲突，第二次是从第三十幕开始到第三十四幕终的生日宴会冲突，第三次是第三十六幕斯坦利对布兰琪的施暴。前两次冲突都表现为阶段性，而且在女主人和男主人的冲突中由斯黛拉作为调和项存在。
欲望号街车论文
欲望号街车论文：《欲望号街车》的后现代解读 [摘要] 本文通过“同一者”，“他者”，“权威”等范畴进一步分析了《欲望号街车》中扑朔迷离的人物关系，对比文本分析认为,现代工业社会中权威在对“性异常”，“疯癫”等边缘文化拒绝禁闭的同时消解了自身,从而揭示 剧作所隐含的后现代主义特质。 [关键词] 同一者，他者，权威，后现代 ⅰ 二十世纪后期,各种批评理论对《欲望号街车》和威廉斯的其他作品进行解读的批评家比比皆是。这篇文章就是以《欲望号街车》为范本,以后现代文化理论为根基,通过对剧中人物关系的深入分析,进一步指出《欲望号街车》在后现代文化领域的阐释对召唤人们反思资本主义现代工业社会意识形态和人际关系所起到的作用。 后现代主义思想家米歇尔福柯在他的著作中通过一系列二元对立的范畴来考察医院，监狱，精神病院对“他者”(the other)排除与监禁的过程,而“他者”本身也是一组二元对 立的一部分,与之相对应的范畴福柯称之为“同一者”(the same)。在《事物的秩序》中,福柯提到:事物的秩序史是同一者的历史,而疯癫史则被描述为-他者的历史。“他者”是被压制的和社会边缘群体中的一种存在,在福柯笔下,穷人，失业者，病人，同性恋者，妓女等社会边缘人都被囊括在“他
者”的定义之内。“同一者”不仅代表医院，监狱，精神病院等社会机关,更是一种权力话语。这种权力在循环过程中具有一种链状结构,通过网状的组织运行与实施,使个人处在实施权力的状态中。 ⅱ 在《欲望号街车》中,斯坦利这个当过兵的推销员是战后美国社会的常见人物。“他意志坚定性格粗野,在他的世界中是一个国王,是一个中心”，在此剧中,他是权力的载体,被赋予同一者的权威。且看威廉斯对他的描述:“自他成年以来,生活的中心就是沉溺于女色，无论是给予还是获得,都不是被动的依赖性的纵欲,而是像一只羽毛丰茂的雄鸟,威武自傲地傲立在一群母鸡之中。”他周围的人，史黛拉和米契,是他的臣民;而他的生活环境就是他的领地。布兰奇,这个性异常(sexual abnormal)的(布兰奇曾有过一段滥交史)神经质的女人在工业化的物质的新奥尔良是一个异类,一个他者,她的装束与这儿的情景毫不相配，她精心打扮,穿着配有绒毛背心的白色套装,戴着珍珠项链和珍珠耳环,手戴白手套,头戴白帽子,看上去是来参加花园区的夏日茶会或鸡尾酒会似的。 布兰奇出生在南方,是没落贵族的后代，她十六岁时嫁给了一个年轻的浪漫诗人其后,她偶然间发现她所爱的人竟是一个同性恋者,这个意想不到的打击使她不知所措，天真无知的布兰奇不能理解她的丈夫,在一次舞会中脱口而出谴责了
欲望号街车剧本
除了表演人员外，还有导演、旁白、舞蹈设计、音乐控制、灯光控制 先一定注意，表演话剧千万不要背对观众，尽量以正面面对观众，背对观众的时间不能超过5秒，这样是对观看者的尊重，也是话剧最讲究的，克服紧张要注意几点，这几点做到你就算紧张别人也看不出，一般初次表演者一紧张说话时，手上就会有小动作，这个千万要记住，还有眼睛千万不要到处张望,一般人表演时一紧张目光,就不集中,有些还会去意观众怎么看你,这些绝对不可以,观众一眼就可出来所以你要记住眼睛要随戏走，肢体不要僵硬特别是腿上一定要放松 导演需要具备组织、领导能力，以协调剧组方方面面的问题，这种能力很大程度上决定了一出戏的成败。二、导演须具备多项专业能力。要对戏剧有着全方位的了解，对每一个环节了如指掌，从编剧、舞美、（包含设计场景、道具）、摄影、照明、音响、人物造型等设计都要熟悉。导演是整个舞台演出的总设计师，戏剧是集体创作，必须与负责各部分的工作人员的进行良好的沟通，只有精通业务才具备说服力。三、导演须具备较高的文化修养。导演个人的文化修养从某种程度上决定了戏剧作品的艺术水准。导演艺术思想的广阔性取决于个人的文化修养，因此个人文化修养决定了导演在舞台呈现上能达到的水平。一个好的导演，要能深刻挖掘剧本，并选择恰当的方式，将他的领悟传递给演员和观众，他必定要博闻广识，对历史、哲学、军事、民俗、宗教、文学、美术等学科都要有较为深入的了解。在此基础上，才能实现文本到舞台的跨越。导演要了解中西方文化艺术与审美差异，以便将西方戏剧展现给中国观众，将中国的舞台艺术展现给世界。四、导演需具备较高的艺术创造力、感受力、想象力、和表现力。导演工作本身即是创作，创作的材料包括剧本、演员、布景、灯光、音响等所有戏剧元素。过去所说的导演的二度创作，重点只对剧本演绎的延伸。现代导演的创作，除传统意义上的二度创作外，也指将